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    The Secret Barrister, reviewed by David Langwallner

      The rage of London at the moment is a self-consciously anonymous blog called “The secret barrister” which is an exposé of the profession of a criminal barrister and indeed of the criminal justice system written by a junior counsel specialising in criminal law. This blog aims to provide a fly-on-the-wall view of the criminal justice system, and of life at the Criminal Bar in general. He writes for the New Statesman, The Sun, The Mirror and Huffington Post. His first book, ‘Stories of The Law and How It’s Broken, published in March, is a bestseller.     If the author had named himself the professional repercussions would not have stinted so, sagely, he has not. The book is written with an avowed sense of sadness, indignation and anger grounded in an overarching desire to secure a measure of fairness within the criminal justice system.  The morphology of the book is to take a criminal case from inception to conclusion to show what goes wrong – to demonstrate that which is unfair.   The book’s argument, delphically stated and perhaps not fleshed out in the detail it should, is that we are moving from a criminal justice system to a criminal system which risks presumptions of guilt. The presumption of innocence which is a British creation is central to justice in a civilised system. But the scruple-based process has become telescoped and mere accusation is now criminalisation. The hallowed, flawed system is losing its protections and safeguards. There is, in criminal justice possibly more than any other sphere of public life, a devastating lack of public education, exacerbated by inaccurate, ill-informed media reports and political pronouncements that betray an ignorance of the legal system that stretches up to the very top of government. This lack of understanding means that politicians escape scrutiny when terrible things are wreaked upon criminal justice – such as the policy that you can be wrongly accused of an offence, denied legal aid and then denied the cost of your private legal fees even when acquitted – and that, when we see a legal story reported in the press – such as the latest ‘look at how much legal aid this murderer received from your taxes – we often lack the tools to critically evaluate it”.     Now I agree with all this and it corresponds with my professional experience in Ireland and the United Kingdom. We are not far from the point that corrupt and (in Ireland) criminal state authorities use an accusation to create a snowball effect,  Often an accusation alone touted and reinforced by a dirty and compliant media is enough to destroy. Once the machinery of mediocrity and state incompetence gets a half baked sense of an accusation the whole thing trundles along and guilt or innocence are merely matters of happenstance. This is augmented by the cult of the pseudo-expert: a three-week training course alone underpinning the pontificator’s cant. This is accentuated in Ireland by our deeply corrupt and criminal professional classes and as we have seen the toxic relationship between  TUSLA, the Department of Injustice and the bar with its illusory independence. In the UK I have not seen not overt state criminality though I recognise the book’s theme of derelict state disclosure of favourable unused material in the practice of the criminal bar here in London where I am now working. In an extraordinary 87 per cent of cases audit trails show the disclosure of evidence to defence lawyers from the police or Crown Prosecution Service to be unsatisfactory, In my view this is systemic, as the police, social services, academics and an over-burdened professional class are making decisions in conditions of radical uncertainty and often with limited training.   Putting victims first, witness protection and the prohibition of hard and intimidating cross-examination is very dangerous. It protects liars and fabricators. A cloak of protection engineered by police, social workers and a dumbed down culture protecting those who enlist the nanny state of the semi competent.   Advocates have a right to annihilate people and not to be stopped in their tracks, as I was recently, if they reduce someone to tears where necessary.     Through lack of training, under-resourcing, lack of motivation and a drop in standards the system is descending in both jurisdictions into chaos.   The system’s flaws flaws are not those of the people who work within it, but are imposed: by the state. Each flaw is “either deliberately designed – such as the Innocence Tax, (the Legal Aid Act 2012 under which defendants find themselves massively out of pocket even when found not guilty)  or the restriction of compensation for miscarriages of justice – or is the product of populist, tough-on-crime, anti-defendant posturing, or betrays warped spending priorities where politicians persuade voters that one penny off a pint of lager is a better investment than a working justice system”.     Moreover, as the Secret Barrister notes, “Part of the problem, as well, is the legal profession. We do a stunningly poor job of explaining to people what the law is, and why it matters. Too many of us are content to busy ourselves in our own work, safe in the knowledge that what we do is important, but without feeling the need to deconstruct for the man on the street why two wigged figures incanting Latin before an old man wearing a giant purple robe, and the obscured codes and rules governing this mediaeval ritual, has any relevance to their everyday life. We then wonder why there is an obvious disconnect between the legal system and the people it exists to serve and protect”.   He is concerned about the ethical compass of vulture solicitors, as am I.   He does not say much about the art of the advocate per se but much about how cuts over time and an increasing workload have diminished the quality of justice and the profession.  He is scathing of minor prosecutions: “Much prosecuting in the

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    Beating the rich at their own game

    Leinster Rugby has just completed a historic European Cup and Pro 14 double, becoming the first Celtic League team to do so in the same season. This comes on the back of Ireland completing a Grand Slam as part of a third Six Nations win in the last five years. It is a golden era for Irish Rugby, and especially for Leinster. With a blend of top Irish internationals, young locals coming through the Schools system, quality foreign imports and a talented coaching staff, the future remains encouragingly bright for the province. Leinster’s unique provincial production lIne Leinster is the only team in a major professional sport to have a home-grown production line systematically providing so many top quality players. Every year more and more talented young players break into the Leinster team. This season will be remembered for the brilliance of James Ryan, the power of Andrew Porter and the electric shimmying of Jordan Larmour. The year before, Joey Carbery was the one setting the fans on fire. Before him it was Garry Ringrose, whose performance levels for club and country are taken for granted though he is only 23. Leinster complements this youthful exuberance and quality by bringing in a handful of foreign imports who become leaders by example and finesse the overall culture of the province. Examples of tone-setting foreign imports are Felipe Contepomi, (2003-9) Rocky Elsom in 2009, Brad Thorn in 2012 and Isa Nacewa, just retired, who was ever present for all four of Leinster’s Heineken/Champions Cup final wins. By winning this season’s European Cup, Leinster join Toulouse as the second club to have won the cup four times, in Leinster’s case achieved over just nine years. It has to be mentioned that another foreign import has had a massive impact – Senior Coach Stuart Lancaster. The former English National team Head Coach has been praised for helping elevate Leinster to its dominance. The only other professional sports team that plays at the highest level and has a home-grown system with an ambition to rival Leinster’s is Athletic Bilbao – in soccer. Athletic Bilbao has an unwritten rule that it will only sign players who were born in the Basque Country, or who learned their football skills at a Basque club. In a sport that is increasingly ruled by extortionate transfer fees, this unwritten rule seems to be working, as Athletic Bilbao are one of just three teams to have never been relegated from the top flight of Spanish football, the other two are Real Madrid and Barcelona. The Irish and English Systems compared Leinster’s success can be attributed to a decision by the Irish Rugby Football Union in the mid 1990s. When Rugby Union decided to turn professional in 1995, the IRFU was faced with a choice – to either fund provincial teams themselves or allow the existing rugby clubs to remain the top tier of Irish Rugby, run by owners and boards that the IRFU would not have much control over. There were calls to enter existing rugby clubs such as Shannon and Garryowen, something that would have created a number of “super clubs”. Instead, in a masterstroke, the IRFU decided to use the provincial structure to create four professional teams for European and domestic competitions. The top Irish players sign “central contracts” with the IRFU, meaning that the IRFU coaches can dictate when these players play for their provinces; how many minutes they play; and when they must take rest periods during the year. This contrasts with the current set up of the English clubs which have impatient and wealthy owners funding them, and therefore do not emphasise resting of their top players. Aviva Premiership clubs are financially reliant on qualifying for European competitions, and set an unsurprising premium on avoiding relegation. Nowhere is the distinction in the treatment of top players more evident than in the number of games played by two of the stars of the 2017 British and Irish Lions tour. England forward Maro Itoje started eight out of Saracens first nine matches this season after playing 34 games the season before. He is only 23, but even a young man has found it tough to perform at the level he could while having to play so many games. Leinster playmaker Johnny Sexton, on the other hand, was gradually introduced back into the Leinster team following the Lions tour to New Zealand. By the time he was eased back into Leinster at the start of the season, Itoje had played five games. This month, Ireland face a summer series consisting of three test matches away to Australia. England will be travelling to South Africa for a three-test series. Following this series, top Irish players like Sexton, Conor Murray and Captain Rory Best will probably be given the month of September off, before being caressed back into club rugby in October. A top English player, like Itoje or his club mate Owen Farrell, will be needed by their team and therefore their studs can be expected to be tearing up the pitch throughout every minute of Saracens’ September and October games. The Turnabout There was a period between 2013 and 2016 when Irish rugby suffered at the hands of big-budget teams from France and England. From 2013 to 2017 Irish Rugby had no finalist in any of the European Cup finals, as the richly financed Toulon won three trophies in a row from 2013-2015. It took a while for the Irish provincial system to generate sustained success. Ulster won the Heineken Cup in 1999 but Irish fans had to wait until the mid-Noughties to see another success, with Munster winning in 2006 and 2008. Leinster took this success to a new level with wins in 2009, 2011 and 2012. This meant Irish teams won five out of the seven finals from 2006 to 2012. With the present success, it seems like the Irish system has now been constructed to last for many years to come. An eye to the future: will

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    Bailer: hefty, grooving, hardcore-inflected modern metal

    Since emerging from nowhere in 2014, Lee-side four-piece Bailer have been working constantly: an unstaunched torrent of gigs, tours and festival/ all-dayer appearances have been punctuated with steady releases of singles and extended players, charting the development of the band’s hefty, grooving, hardcore-inflected strain of modern metal. The most recent of these extended players, a self-titled affair released via Sligo-based Distroy Records, has seen them finally begin to break down some of the media barriers that have traditionally thwarted Irish artists in the UK and continental Europe. Guitarist Chris Harte has been seeing the difference in recent months. “Yeah, the songs have been pushed by bigger metal outlets. We’ve been thrilled with the response so far, and it feels great”. Part of the touring for the record included an excursion to Russia for two weeks in February. A daunting task for any band just because of the weather, the trip presented logistical and political difficulties too. “About this time last year, an offer came to us to tour there for two weeks. We’ve seen so many of our favourite bands go there in the past, and their shows always looked wild. We wanted to do the same, so we took the chance and it was a crazy experience. The shows were incredible, and the culture was totally different”. Heading to a new country to play tunes for the first time is always a big deal for a band, and, day-to-day, Harte and company were pleasantly surprised by the reaction they met from a metal audience that hasn’t necessarily been treated well by touring bookers in recent years. “The crowds seemed to love high-energy, heavy music, and we certainly didn’t hold back on the performances after travelling all that way. People were queuing up for photos every night, and you could see how much it meant to them. We made sure to connect with as many people as possible online. Lots of them have been following us ever since.” The experience of dealing with music fans at the other side of a social and political divide was especially poignant for the band. Gig-goers and supporters of heavy music attending the band’s tour regularly asked them to take the message home that objections to Vladimir Putin’s rule and actions in recent years are shared by people on the ground in Russia. “That was pretty surreal on a humane level, those were some of the most powerful memories we took away from the tour. In a way, it was what we expected, since we were heading over to play underground hardcore shows, but it really stuck with us. I think it’s easy to see that people these days, from all over the world, are seriously dissatisfied with their governments and it’s no different in Russia. Western media would have us all believe they are a scary people who hate our guts, but it’s total bulls**t. Look at America’s government right now for god’s sake, politics are f**ked wherever you go”. Upon arrival back home, Bailer found themselves on the cusp of cult recognition in the UK, with enthusiastic reviews and features in youth-oriented print magazines such as Kerrang! and Metal Hammer. “For us, it felt great to be in them, even if only for the fact that we used to buy them all the time as teenagers, and we found out about so many bands that shaped our tastes in music through those mags. We’re working on getting over there for some good shows later this year to follow up on the exposure. Hopefully that’s just the start of it, now”. The industry is currently dealing with the extended transition from paid downloads to subscription streaming services, which have overtaken physical CD and vinyl sales in the past year in many markets. Having taken their own management in-house, the band is using its knowledge of merchandising to help other artists with artwork and visual identity. Enter Absurd Merch, the band’s joint venture with their label. “Since becoming a member of the Distroy Records family Alex, who runs the label, had been chatting to me a lot about his aspirations to start up a merch brand, operating within the metal and hardcore community. There is a big increase in the scene here in Ireland and around the world right now, and there are a lot of bands doing well. We set it up to help out bands working hard and looking to tour at home and abroad. It’s looking good already and we have lots of plans in the pipeline”. Bailer tour Ireland this summer, including appearing at Townlands Carnival in Macroom (July 20th) and Knockanstockan Festival in County Wicklow (July 27th). Mike McGrath-Bryan

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    Life and death on Abbey Street

    All of life is on Abbey Street, the street where I work. Stepping out of the school, humming a tune to myself, in spite of the rain, heart beating with a secret joy, I imagine my self as a smooth stone, skimming over the the grey current of the day, towards the green granite horizon of Easons. A Chinese man is smoking outside Ladbrokes, mauling betting slips, each one like a love letter from an old flame, stories that ended at the first hurdle. Five euro on Heartache each way. My heart is beating with a secret joy. I cross over to Connolly’s window and admire the sculpture of shoes, precarious heels, and wonder how it feels to walk half a foot taller than you are. I see the Collins bus in front of Wynn’s Hotel drawing its breath before heading for Carrickmacross. A Spanish man with a large blue umbrella is explaining to a group of giddy teenagers all about 1916 and where they can buy cheap clothes; Penneys. Leaning on a roadwork barricade, smoking in the morning, breathing out a thousand spirals of associations, I could dream on this street corner forever, my heart is beating with a secret joy. Recalling, how a year ago, the city was slowly having its stitches removed, its wounds healing, being filled with tar and cement. Ghost light rail vehicles crawling on new tracks, testing her unclogged arteries. Strange passenger-less carriages, new blood cells, flowing through the veins of O’Connell and Parnell. For over a year it had been open heart surgery on the streets of Dublin. Teams of hard-hat medics making incisions on her asphalt skin, extracting bales of cable and huge yellow tubes from her drill-blasted bowels. The city was a vast operating theatre. The patient stretched from Stephen’s Green to the Ambassador Theatre and there, Parnell reminded over-worked junior doctors who were tarmacking her torn flesh: “No Man has the right to fix the boundary to the march of a nation…”. Dawson Street was like intensive care, reduced to one lane; just enough to let the blood of commerce flow to the gaping tills that gurgle profit like mouth wash. High mesh fences erected all around to protect the patient’s ruptured modesty. Deep scar tissue on Westmoreland Street, trainee doctors sweeping débris on O’ Connell Street, consultants and surgeons pummelling it with diggers and drills. Dublin was bleeding with dust, its arms stitched on Abbey Street by nurses in luminous overalls and a dressage team tending the city’s scars behind a plastic green mesh in front of the GPO. Then I see her laid on the ground, wearing a duffle coat, two sizes too large, half my age, skin, milk-pale and purple with the cold. Chicken-carcass cheekbones, crutches by her side. Behind her, a garish poster for a family-sized Supermac pizza; above her a man, weeping, pushing her chest, “I’m losin’ her, I’m fuckin losin’ her… will ye come back to me..?”. Traffic lights change and hundreds of shoes and shopping bags pass by. My heart had beaten with a secret joy and hers is stopping, ignored in a public place; overdose. A friend with a ploughed line of stitches on his cheek balances on a crutch calling an ambulance. The blue umbrella bobs now in the distance above a sea of scalps. Drizzle speckles her face and I can see the flash of ambulance scissoring the grey sky before I hear the siren, like lightning before thunder. Blue paramedic gloves draw a sheet over her face and the last she sees of this world is a fever dream of shoes passing at the level of her sunken eyes and a huge pizza slice being cut from a family meal deal, lassos of melted cheese the last thing she could cling to. A Red Line Luas tram passes, pressed tight with faces and brown-paper shopping bags, the bell rings to signal its crossing over O’ Connell St; the ambulance wails down Abbey St, all that is left is her rain-sodden cardboard death-bed outside Supermacs. Traffic lights change again and a thousand shoes hurry by; nothing to see here. Billy O’hAnluain

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    Vulnerable Monsters

    Emma Gilleece reviews ‘SOS Brutalism: a Global Survey’; published by Park Books, 2017 (RRP €68) ‘SOS Brutalism; A Global Survey’ is the first-ever international survey of Brutalist architecture from the 1950s to the 1970s, a collaboration by the Deutsches Architekturmuseum DAM and the Wüstenrot Foundation. It is an understatement to say that this book is a colossal contribution to architectural discourse and twentieth-century conservation. As explored in its essays, even the process of defining this enigmatic genre, still muscular and enthralling after almost 65 years is like grasping wet soap. Each contributor eagerly tries to grip it with the same enthusiasm and excitement that these Brutalist pioneers must have felt when their concrete ‘monsters’ were taking shape. Nevertheless, the debates and divisions are all part and of Brutalism’s contrary appeal. Cult Status The godfather of modern architectural criticism, Kenneth Frampton, contextualises Brutalism in the foreword to the book, incisively distinguishing it for example from the“people’s detailing” of the shallow-pitched, tile roofs, cavity brick walls, invariably white “amiable, unchallenging, anti-street, garden-city aesthetic” which “came under therubric of contemporary architecture asopposed to the pre-war notion of a severelyabstract modern architecture”. The scope of the database of brutalist constructions, contained in an accompanying tome, is staggering: more than 750 pages. It was an important basis for the selection of the book’s 120 case-studies from twelveregions extending to Africa, the Middle Eastand Oceania. Accompanying the survey are essays from its editors and contributors exploring questions such as whether a building is now Brutalist, or merely a late-modern, exposed-concrete, edifice; the discrepancy between the terms New Brutalism and Brutalism; contemporary efforts to preserve Brutalist buildings across the globe and theassumed continuity debate. The goal of the book is to spotlight the evaluation and preservation of the heritage value of Brutalist works. This is no small task for Brutalism is divisive. Popular Culture The compiling of the database sosbrutalism.org by architectural crowd-sourcing, reflects the egalitarian nature of Brutalism mirrored by the role social media has played in Brutalism’s renaissance. For example, think of the international reach to thePreston Bus Station campaign in 2012 which swung its fate from razing to Grade II listing. In recent years Brutalist architecture has achieved a second flowering (cementing?)on social media where its images bulge and captivate. However, there is also a renewed interest in Brutalism in scientific journals, symposia and exhibitions. It appears it’s position in the cycle of fashion and derision is upwardly bound. Perhaps not uncoincidentally, too late for many exemplars. The database was launched in October 2015 with 250 entries. By September 2017, ithad grown to 1,100 Brutalist buildings, many formerly undercelebrated, of which 120 are endangered through neglect or intended demolition. Experts, architectural buffs and photographers contributed to the survey either by contacting them directly, or by adopting the #SOSBrutalism hashtag. The Irish Contribution The only Irish case study is Stephenson, Gibney and Associates’ practice head-quarters Molyneaux House, Dublin (1971- 73)written by Erika Hanna. Hanna describes the now anachronistic attitudes not only of that firm but also of Irish planning at that time: “They also publicly delighted in confounding the conservation lobby and were at the center of the most high-profle controversies…demolishing a Georgian streetscape to construct offices for the Electricity Supply Board; building the bunkerish Civic offices on the remains of Viking Dublin;and erecting the Central Bank building higher than its planning permission permitted”. In the endangered list for Ireland they include; the IDA Small Business Centre(1983), by Scott Tallon Walker, highlighted inred as under threat; Stephenson and Gibney’s Fitzwilliam Lawn Tennis Club (1973); and the Ulster Museum Extension by Francis Pym (1962-64). Sadly Fitzwilton House (1964-1969) by Shoolheifer and Burley is in red but will soon be crossed out by demolition. With the refurbishment of the former Central Bank on Dame Street, this book and the publication later this year of ‘More Than Concrete Blocks: Dublin City’s Twentieth-century buildings and their stories, 1940 – 73 Vol. II’ (Dublin, Four Courts Press), no doubt Brutalism will attract new fans overcoming the visceral aesthetic contempt always evident from those with unimaginative good taste.   Design This hardback is accompanied by a bonus paperback supplement of contributions made to the international symposium on Brutalism that took place in Berlin in May 2012. The retro, voguishly-burlap-bound book perfectlycaptures its scintillating subject era. Many will recognisethe book’s nod to the design of Reyner Banham’s seminal book The New ‘Brutalism: Ethic or aesthetic?’ (1966), the bible of Brutalism which knew, as times were changing, heralded its death. The photographs, both colourand atmospheric black-and-white; sketches; plans andsections make it a joy to turn each page and the list in the Appendix counterpoints the easy joy with evocations of the arresting magnitude of the speed and scaleof loss. The Appendix lists 986 buildings as of September 2017. Threatened/endangered buildings are markedred, demolished buildings are crossed out. Geographic coordinates are provided. More Than a Catalogue More than a catalogue, the book’s fantastically researched essays try to define elusive Brutalism, charting its rise and fall and pinpointing its appeal. The movement went beyond aesthetics. These buildings are embedded in the debates of their time when questions of design profoundly refracted a larger political context.Although an international movement, it was regionally-embedded coinciding with a period of decolonisation and nation-building (Africa, Asia), of reconstruction (Europe, Japan), and of rapid modernisation (North/Latin America, Middle East). Wherever we look, Brutalist buildings leered, all over the world, in most political systems. How many Brutalisms are there? Did the end of Brutalism coincide with the fall of thewelfare state and the beginning of neoliberalism? Did Brutalism become too costly atsome point, because the labour required for customised sculptural products was too expensive? Oliver Eiser’s essay, ‘Just what isit that Makes Brutalism Today so Appealing’,decrees that a new form of Brutalist architecture is long overdue. Annette Busse inher paper, ‘From brut to Brutalism, Developments between 1900 and 1955’, delves into the significance of the difference in the meaning of the words brut and brutal in English, French and German; and into the

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